臺灣國樂的發展在文化匯流的過程中，已持續地與中國、歐美，甚至其他地 區的音樂文化相互交融，因此，音樂扮演著非常重要的角色。回顧近幾年來臺灣 公部門國樂團的展演活動，其每日的音樂實踐很明顯地被個人美學、意識形態、 行為與論述以及社會的歷史記憶不斷地重塑，儼然變為一種新的跨界形式，這與 過去的國樂相比，的確給予聽眾相當新穎的展演形式，同時，這樣的現象反映時 代的變遷，國樂的表演風格與內容已與往常大家所熟悉的傳統呈現方式有著截然 不同的音樂經驗，而不斷發展與變化。也就是說，臺灣的國樂已被形塑為一個新 的「混雜」音景，不再只有以單一泛中國音景為主，而是朝向結合二種以上跨文 化的元素與跨領域的表演形式。 在本文中，筆者以台北市立國樂團和臺灣國樂團這二個國樂團2008年之後 的音樂展演活動為例，試圖討論文化匯流的現象，如何影響臺灣近年來的國樂發 展，並探討全球和本土音樂家之間如何進行音樂協商的過程，以及在音樂活動和 音樂生產過程的互動關係。

The process of music making in Taiwan’s guoyue has been undergoing a process of musical negotiation among Chinese, Taiwanese, European and other cultures. A review of the daily musical activities of two Chinese orchestras reveals how musical practices have been reshaped towards a new crossover genre which is constructed by historical memories, individual ideologies, narratives and behaviours. In this chapter, I attempt to further discuss the transculturation phenomenon of guoyue in the context of Taiwan from 2008, exploring the musical interaction between global and local musicians in musical activities and production. This paper will describe how and why guoyue musicians tend to impose various elements into guoyue, which have resulted in the creation of kuajie. The concept of transculturation will be specifically applied to the current development of guoyue in Taiwan through a review of cultural production between Chinese orchestras and musicians (local and international). The second part will focus on the transculturation phenomenon using four examples revealing differing approaches to transculturation in guoyue. Finally, I will return to the concept of transculturation in light of the examples and develop it further to propose an understanding of guoyue as a transcultural music.